Paramount has engaged screenwriter Max Landis to develop a treatment for a feature adaptation of the Hasbro brand G.I. Joe, while separately commissioning Danny McBride to write a different draft, sources say. The dual-track development is intended to give the studio multiple creative routes for a major franchise property; one studio source described the two efforts as separate projects, even as executives consider merging ideas later. Landis’s hiring reintroduces him to top-tier studio development after his public fall in the late 2010s amid a series of accusations that led to his loss of representation and stalled projects. No criminal charges were filed against Landis following the reports, and the move has prompted debate inside and outside the industry.
Key takeaways
- Paramount (Skydance-led) has tapped Max Landis to produce a treatment and Danny McBride to write a separate script for a G.I. Joe feature.
- Lorenzo di Bonaventura is attached as producer; the studio plans multiple creative tracks to choose from or potentially blend.
- Landis rose to notice with Chronicle (2012) and penned Bright (2017), a high-budget Netflix title.
- Landis’s career was upended after allegations surfaced in the late 2010s and a 2019 exposé; he was dropped by agencies including CAA and Writ Large; no charges were filed.
- McBride brings a track record in dark comedy and genre work, including Righteous Gemstones and co-writing recent horror entries like the Halloween sequel trilogy and The Exorcist: Believer (2023).
- Paramount/Skydance has previously worked with figures who generated controversy after public allegations, a pattern that has drawn scrutiny.
Background
G.I. Joe is one of Hasbro’s longstanding intellectual properties with a history of film and toy tie-ins; studios view it as a franchise opportunity with international merchandising potential. Paramount, under David Ellison’s Skydance-influenced leadership, has prioritized big-IP strategies and multiple development tracks to maximize franchise outcomes and mitigate creative risk. The practice of running parallel scripts or treatments grew more common in the 2010s as studios chased blockbuster continuity and franchise potential.
Max Landis established himself as a commercially promising writer in the 2010s, selling high-value spec material and earning credit on titles such as Chronicle (2012) and Bright (2017). His public profile dimmed after multiple women accused him of sexual and emotional misconduct; coverage intensified with a 2019 article in The Daily Beast and led to professional consequences, including losing agents and shelved projects. Landis has publicly acknowledged relationship failings and has posted long-form video monologues online that mix creative performance with personal reflection.
Main event
According to people with knowledge of the matter, Paramount has contracted Landis to deliver a treatment for a G.I. Joe feature while commissioning Danny McBride to write a separate screenplay. The studio’s immediate aim is to generate distinct creative approaches: one from Landis’s treatment and one from McBride’s script. Studio sources described the pathways as independent at present, though executives often evaluate multiple drafts and may combine elements if they see a superior unified direction.
Lorenzo di Bonaventura, the veteran producer behind previous Joe installments, remains the project’s lead producer, guiding the development process and shepherding the property’s commercial planning. McBride’s involvement adds a writer known for centering abrasive, character-driven comedy and recent work in mainstream horror; the pairing suggests Paramount is probing tonal options. Developing competing or complementary scripts is rare but not unprecedented and can shorten the studio’s route to a workable final screenplay.
The hiring of Landis has drawn particular attention because he was widely perceived as professionally canceled during the #MeToo-era revelations. Studio insiders framed the choice as a calculated risk: Landis brings recognized genre instincts and an ability to generate high-concept takes, but his return also carries reputational considerations that could affect talent attachments, marketing, and publicity. Paramount’s Skydance-era leadership has previously placed bets on controversial but experienced executives and creatives under the logic of reclamation and pragmatic franchise building.
Analysis & implications
Paramount’s move reflects a business-first calculus common to major studios: experienced writers with franchise knowledge can materially accelerate development. Landis’s track record on commercially scaled projects is a draw; executives appear willing to weigh that utility against potential brand and PR fallout. For Skydance-led Paramount, which has prioritized franchise throughput, the calculation likely centers on whether Landis’s creative contribution materially improves the eventual film’s box-office or streaming prospects.
Reputational risk remains a substantial variable. Talent, corporate partners, and advertisers may react to Landis’s involvement in ways that affect casting, promotional partnerships, and distribution plans. Studios often employ confidentiality and distance (e.g., using treatments, limited credits, or producer buffers) to reduce flashpoints, but public-facing controversies can still shape audience perceptions and industry relationships, especially when projects rely on star-driven marketing.
Creatively, running parallel tracks increases the chances of finding a commercially viable tone—whether high-octane action, satire, or character-focused reinvention. McBride’s dark-comic sensibility and Landis’s speculative, high-concept tendencies represent different routes to revitalizing G.I. Joe for a modern audience. The ultimate decision will hinge on internal reads, test audiences, and franchise monetization models, including toy licensing and international sales where Hasbro properties typically perform.
Comparison & data
| Project | Studio | Method | Result |
|---|---|---|---|
| Tarzan reboot (mid-2010s) | Warner Bros. | Multiple writers/scripts | Prolonged development; no single clear path emerged |
| The Mummy (reboot, mid-2010s) | Universal | Parallel scripts before consolidation | Released as a shared-vision attempt that underperformed |
| Transformers / Star Trek (Paramount tracks) | Paramount | Several scripts/tracks explored | Some projects moved forward, others shelved |
Running multiple scripts has delivered mixed results historically: it can produce a stronger final screenplay by combining the best elements, but it can also waste development spend on options that never converge. The approach shortens time-to-decision when studios want to rapidly test tonal variations across writers, yet it increases coordination complexity and may generate competing internal factions advocating for different drafts.
Reactions & quotes
Industry reaction has been split between pragmatic acceptance and vocal concern. Below are representative statements and their contexts.
“I get why certain people hate me.”
Max Landis, YouTube statement (2019)
This brief line comes from a video Landis posted in which he acknowledged relationship mistakes and described past behavior as toxic. The remark has been cited in discussions about his public accountability and the boundaries of professional rehabilitation.
“These are two separate projects.”
Studio source (anonymous)
An anonymous studio source characterized Landis’s and McBride’s assignments as distinct tracks rather than two halves of a single, coordinated project. Studio insiders note that even separate assignments are often compared in development labs to identify the best path forward.
“We need writers who can deliver a crowd-pleasing, internationally viable approach for a toy-based franchise.”
Producer circle (paraphrased)
Producers describe the priority as finding a tone that supports merchandising and global box-office potential—an explanation for why the studio would run multiple writers with different strengths.
Unconfirmed
- Whether Paramount will ultimately merge the Landis treatment and McBride script into a single screenplay remains undecided and unconfirmed.
- It is not confirmed how much creative control Landis will retain if his material is used, including final credit or producer status.
- There is no public confirmation of cast attachments, production schedule, or release timeline for the G.I. Joe project.
Bottom line
Paramount’s decision to commission both Max Landis and Danny McBride to explore G.I. Joe reinvention is a pragmatic development strategy that balances creative ambition with franchise imperatives. Landis’s hiring signals a willingness by Skydance-era leadership to re-engage talent whose careers were previously derailed, while McBride’s participation offers a contrasting tonal option rooted in comedy and genre expertise.
The move will be a watchpoint for industry observers interested in how studios weigh creative utility against reputational risk. Key indicators to monitor include whether the two tracks are blended, how talent and corporate partners respond, and whether the final product proves commercially viable across domestic and international markets.
Sources
- The Hollywood Reporter — (exclusive entertainment reporting)
- The Daily Beast — (investigative journalism/general press; original 2019 exposé reported allegations)
- YouTube — (platform; source of Max Landis’s public statements and long-form videos)